Robert Lippok has been testing art’s outermost edges for over four decades. His background at the costume department of the German State Opera in Berlin, the studies at the School of Art and Design Berlin-Weissensee, and the pioneering band projects Ornament und Verbrechen (1983) and To Rococo Rot (1995 – 2014) informed a transversal practice spanning from music composition, visual art, stage design, performance and costume design.

Experimenting with a wide range of music technologies, found objects and self-built instruments, Lippok’s pieces – whether an album or an interactive installation – have always transcended mere self-expression to address the role of art as a space-carving and architectural practice. Through the years, his works have been exhibited in the Palais de Tokyo, Neue National Galerie, Hamburger Bahnhof, Künstlerhaus Bethanien, Haus der Kunst in Munich, Gropius Bau, and the Athens Biennale amongst others.

Lippok’s ever-present interest in collaborative and interdisciplinary projects catalysed joint ventures with international artists including Doug Aitken, pianist Ludovico Einaudi for an extensive tour, choreographer Constanza Macras , opera director Sebastian Baumgarten, and multimedia artist Julian Charrière.

Known for his long-standing contribution to raster-noton’s catalogue through timeless avant-techno releases, notably “open close open” (2001), “redsuperstructure” (2011), “Applied Autonomy” (2018), Lippok’s live appearances have been presented at worldwide festivals and venues such as ADE, Berghain, CTM, Funkhaus Berlin, MUTEK, Sonar, and Unsound.

Robert Lippok’s dedication to research has engaged him with renowned institutions for creative investigation and education, being part of the curatorial board of the spatial audio system 4DSOUND, a member of the board of trustees of the Spatial Sound Institute Budapest, and a fellow of Olafur Eliasson’s Institut für Raumexperimente in Berlin. From 2017 to 2022, Lippok was a tutor at New York University in Berlin, where he taught the production class “Experiments in the Future of Production and Performance”

Vetus (Guglielmo Paradisi) Guglielmo Paradisi was born in 1982, italian experimenter and producer since the early 2000s. He has explored many musical genres, landing on ambient-drone music that flows into techno and avant-garde. Previously produced by the Black Records label (Rome) (Rai Trade sound system). In the past he has produced: "Esigenze di Mercato" (LP 2015), "Eppur questo non basta" (EP 2016) inspired by the film Stalker by Andrej Tarkovskij and a recording of the concert-performance "Prometeo" (2016) (directed by Massimiliano D ' Aloiso) where he curated music and sound design.
He has composed soundtracks for Italian and international theatrical productions. Also active as a theatrical actor, a world that has contributed to profoundly mark a new sound approach linked to visual representation, he collaborates with videomakers and motion designers in live performances. He is a visual designer and was the author of the visual concept of the record.

NOTON – founded by Carsten Nicolai as a small imprint in 1994 – began its activities in 1996 with the release of noto’s “spin”. a collaboration with RasterMusic began the same year, and by 1999 the two labels had merged into Raster-Noton. In 2017, NOTON will start working independently again by releasing Alva Noto’s entire back catalogue, and the label is currently planning releases for the future too. Ongoing projects and collaborations include: Noto, Alva Noto, Opto (Thomas Knak + Alva Noto), cyclo.  (Ryoji Ikeda + Alva Noto), ANBB: Alva Noto + Blixa Bargeld, Alva Noto + Ryuichi Sakamoto, Anne-James Chaton + Alva Noto + Andy Moore, ø + Noto.

IF.IM is the solo musical project of Michele Fini, an architect/teacher, who has already worked on electronic projects such as Blankform and Aural Smog... IF.IM wants to experiment with electronics from analog and digital sources and interact with other artists...

dark ambient + glitches + field recordings, producing grey matter!

«Can songwriting be combine with a dilated, rarefied and highly experimental sound? The Southern Italian band Violent Scenes, with a decade-long track record, have succeeded. They started from post-rock and psychedelic and landed on experimental rock through ambient-glitch electronic.» - Time Zones XXXVII

Violent Scenes is the New Greek Theater. Mindful of Euripides and Godard’s lesson, it despices the TV theatrical shows and declares that Tragedy is not violent. Violent Scenes is an attempt to being human.

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